On Call
A quick look at the television schedule reveals that a foundation of procedurals largely buffets network television. Of those procedurals, cop shows are by far the largest single group. There are twists on the formula to be sure—your High Potentials or Elsbeths, for instance. But meat and potatoes cop chase criminals shows are a cornerstone of any network’s output. Wolf Productions proudly imports this television dietary stable to streaming with the new series On Call, created by Tim Walsh and Elliot Wolf. The copy would have one believe this is something different. It brags on the use of surveillance and body cam footage, giving the show a sense of immediacy. Some releases are even bold enough to throw out the term “cinéma vérité”. Still, an assessment of the media landscape reveals down-the-middle shows like The Rookie or the 9-1-1s have been mixing in body and surveillance cam shots for a bit. Hartford, CT's own Eriq La Salle walks the beat on the Left Coast. (Elizabeth Morris/Amazon/MGM) The releases talk less about where On Call puts its spotlight. It is more beat-cop-oriented than your classics of the format. For instance, Wolf’s Law & Order franchise rarely hangs with the uniforms for more than a few minutes in any given episode. On Call reverses that formula, giving viewers only the briefest glimpses of detectives. Oft-referenced, little seen. As a result, the storytelling has a more fragmented flow. Experienced officer Harmon (Troian Bellisario) and her newest trainee Diaz (Brandon Larracuente) frequently hit the scene after others already have. Thus, they drop into situations in progress. Then, a radio crackle will pull them to another call before resolution at the current scene. Such is the life for patrol men and women. Continue Reading →